Critique Collective

Critique Collective is your source for information and interviews about emerging and established contemporary artists.

Tag: horror

Cult Films and the Master Director Jeremiah Kipp

Jeremiah Kipp is a film director working primarily within the genre of horror. Holding a BFA from NYU, Kipp has worked on numerous films that have been featured in many international film festivals as well as commercial films for the Royal Bank of Scotland and Canon. His THE CHRISTMAS PARTY was met by more than fifty international film festivals including the Cannes and Clermont-Ferrand. Kipp’s work can be found online at http://www.kippfilms.com.


Paul Weiner:
How would you describe your role as a writer, director, and producer? How does your experience in each field impact the others?

Jeremiah Kipp:
I am primarily a director who puts projects together. Occasionally, I produce to help facilitate the work of another filmmaker who I believe in or write a project in order to film it. But I don’t consider myself a producer or screenwriter, rather a director who occasionally produces or writes. One project always leads into and informs the next, though, so I am sure my producing and writing has affected my directing. It is all the process of filmmaking.

Paul Weiner:
What genre of film do you prefer to work with?

Jeremiah Kipp:
I have found horror to be a flexible genre, very emotional and visceral. The roots are in fairy tales, where the heroes endure the unspeakable in the name of love or friendship, and their encounter with the witch pushes us into the realm of the uncanny. It could also be because I find the world to be an aggressive and strange place, where human beings have complex motivations. Drama can only take us so far, but horror and fantasy takes us beyond reality into something poetic.

Paul Weiner:
Do you have an ideal audience for your work or setting in which you would prefer the work to be viewed?

Jeremiah Kipp:
I know that the people who enjoyed my film DROOL tended to find CRESTFALLEN to be too mainstream for their taste; and those who loved CRESTFALLEN couldn’t make heads or tails out of DROOL.  Of course, you hope for that open-minded viewer that would be able to enjoy both films for what they are. Thinking of the audience while making the movie is critical for understanding what you’re trying to communicate to them. When I release the work, I allow the film to find its audience in its own way. They each have a life of their own.

Paul Weiner:

Describe your favorite piece you’ve worked on.

Jeremiah Kipp:
While I do not have an individual favorite piece, in the context of this interview I’d be happy to describe one movie to illustrate a point. THE CHRISTMAS PARTY is a project I made in 2003 about a little boy dropped off at a holiday party run by Christians, the kind who want everyone else in the world to be Christian too. I enjoy how the film polarized audiences. Some regarded it as a horror film, some as social realism. The French audiences took it as a satire of Norman Rockwell values, and the Christian audience viewed it as a cautionary tale. Ultimately, the film no longer belongs to me. It belongs to the spectator to interpret as he or she determines.

Paul Weiner:
What are you currently working on?

Jeremiah Kipp:
We are submitting a new movie to film festivals entitled THE DAYS GOD SLEPT, which has been described as a cinematic prayer set in a phantasmagoric strip club.

I also have a horror movie called BAGGAGE that plays out like an episode of Alfred Hitchcock Presents with a Grand Guignol twist. I was hired by horror personality Ro Dimension to direct his script. He played the tormented main character. Folks can either see the premiere screening at Monster Mania in Cherry Hill, NJ or order the movie online at http://youvebeenrobbedfilms.blogspot.com/

Beyond that, I have a new episode in the second season of the Web series IN FEAR OF, and I am in development on several new short fix and a feature, working with many of my wonderful collaborators from THE DAYS GOD SLEPT. I like to work.

Paul Weiner:
How do you feel about the use of gore in horror films, whether excessive or more tasteful?

Jeremiah Kipp:
If they push the gore to the most extreme and grotesque, a la Lucio Fulci, I find it commendable. It becomes an act of morbid excess, where everything is permitted. That is total freedom. I also admire the films of Val Lewton, which depend on a subtle tone of lingering menace lurking just beyond the edge of the frame. It all depends on what is appropriate for the movie, and if it is told with integrity. It’s middle-of-the-road stuff that just doesn’t fly, or if the gore is there because the filmmaker lacks imagination or is clearly going for a cheap thrill; it feels compromised or timid. The good movies know what they are and are uncompromising in that intent.

Paul Weiner:
How do you feel about today’s indie art scene in the context of the great commercialization that has taken place in the film industry?

Jeremiah Kipp:
Commercialization, in some ways, has stifled the possibilities of what movies can be. Some blockbuster movies these days play up as if they were two hours of watching thirty second advertisements strung together. But there is always a counterbalance. Alternative cinema provides a way to tap into other stories, and making movies has become more affordable. When the music industry as we knew it blew apart, it opened up new possibilities. I suspect the same thing will happen with movies. But it has happened before, and all art moves through cycles – all crafts, too.


Please view Jeremiah Kipp’s work at http://www.kippfilms.com/and “like” Critique Collective on Facebook at http://www.facebook.com/critiquecollective.

Subscribe to the Critique Collective newsletter for additional content, faster updates, art tips, and insider information absolutely free.

Berlin’s Diego Garcia Explores Gestalt Psychology and Interdisciplinary Artwork

Diego Garcia is a transmedia artist from Brazil who is currently living in Berlin. Garcia’s artwork covers a broad spectrum of artistic mediums, including music, video, and design. His work often deals with shocking and disturbing images while managing to retain conceptual integrity. In Garcia’s current series, Projekt Gestalten, he applies theories of gestalt psychology to the fine art world. Projekt Gestalten can also be found online at http://www.projektgestalten.com/.

piecesofabrokenme


Paul Weiner:
How did you find your start in music and how has it translated to visual and video art?

Diego Garcia:
I started making music around 2003, mostly house music and electro. But, after a while, I got bored with it and started approaching more experimental styles such as IDM, ambient, techprono and downtempo. In the meantime, I was studying visual arts at my university. I was so scared because I thought that, at some point, I would have to choose between being a musician or a visual artist/designer. Then it hit me: “why do I have to pick one area if I can merge all of these types of art into one thing?” I think the turning point was at my final graduation project. I made a music-video, but, besides shooting, directing, and editing it, I also made the music and designed the whole visual art promotional material. Then I felt like a true multimedia artist.

Paul Weiner:
How do you usually begin a work of art? Is it different depending on the medium you’re using?

Diego Garcia:
Yes, it is. With music, I just go and start building up grooves that I like until I get something that I think is consistent. This process can be done in half hour or several hours. It really depends. Now, with graphic design, it’s a little bit more mechanic. If I am doing a project like a visual identity or an advertisement poster for a client, for instance, there are basic design rules in regards to visual psychology, color theory, and geometry that I need to obey. However, if it’s an artistic thing made just for the sake of art, all of these rules can be broken, of course. Now, if I am doing a video or a photographic project I usually already have an idea of what I want in my head. So, I make a little storyboard or sketches and start working from there. Sometimes it turns out the exact way that I wanted, like with the Lars von Trier project, or sometimes completely different, which also can generate very interesting results.
11

12

13

Paul Weiner:
Tell us about the concept behind your Projekt Gestalten.

Diego Garcia:
Projekt Gestalten is the artistic name for my audio productions and my live act performances. The name literally means “construction project,” and I think that’s exactly what I do, regardless of the medium I use: I construct visual and sonic things. But gestalten also is related to the “gestalt psychology,” which is a concept I have learned while studying at my university. Its basic principle is that the whole is greater than the sum of its parts. So, basically, for you to understand something, you need to see the whole picture as opposed to trying to analyze specific things at first. I think that concept also applies in order to understand my work and maybe even myself. I make a lot of different projects with a lot of different mediums, and I am just trying to put all the pieces together.

Paul Weiner:
Do you like to work with ideas that are shocking? Take, for instance, your “Reality Remix 001 (Sausage Commercial X Pig Being Killed).”

Diego Garcia:
Yes, I do like to work with shocking elements and try pushing the boundaries of standard behaviors. The “Reality Remix 001” project is actually a particularly disturbing one. What I like about this project is that there is not too much shockingly graphic content in this video. Due to the very fast editing work, you cannot actually see what is going on for sure. What it makes it so dramatically disturbing is the sound. Hearing the pig screaming and, at the same time, seeing bits and glimpses of him dying makes you mentally visualize the whole scene inside your head without even having to actually see the whole scene. The juxtaposition of the candid happy sausage commercial just adds another layer to the project. It’s not like I made it all up; this is what really happens inside these meat factories. Despite being a vegetarian, I don’t like militancy, and the goal of the video is not to try to abruptly stop people from eating meat but to create a dialogue about the subject and make them think more about the subject.

There are some videos like “Boi da Cara-Preta (Black-Face Ox),” which is my most viewed video on YouTube, that I would not consider too disturbing. But, it turns out that Boi da Cara-Preta was disturbing to other people. The video is an animation showing kids being devoured by this black-faced ox. The music is a remix that I made from a very traditional children’s lullaby with the same name. The melody is very tender and calm, which can be heard at the end of my version; however, the lyrics always have disturbed me, even since I was a kid. It goes like this: “black-face ox, take away these little children who are afraid of scary faces.”

I’ve received so much backlash for this video, and even some aggressive and hateful threats. I think it’s because most people associate this song with their childhood, and they search for it on the internet in order to relive happy moments. Instead, they end up stuck with my video. It was never my goal to shock people, just to translate the lyrics to their literal meaning.

T bio disco NEW LOGO

Paul Weiner:
Why did you choose to move to Berlin?

Diego Garcia:
It always has been a goal of mine to move to Europe at some point. Initially, I was thinking about going to London to do my Masters in arts over there. However, after spending a week in Berlin, during a backpack trip of mine, I fell in love with the city. It is such an amazing place to be. It’s so artistic, and I like how people are more open-minded around here. Plus, I can do my Masters in Berlin for a fraction of what I would pay in the UK. I also would have to admit that the music scene and the clubbing scene played a big role in my decision to move to the city. I truly feel like I am home in here, and I am already very inserted into the scene within only a few months of living in Berlin. It is funny because, in Brazil and in a lot of other places in the world, I’ve always felt like an alien because of the way I think, behave, dress, etc. But, in Berlin, it is like I have found my mothership back again!

Paul Weiner:
How would you describe the art scene in Berlin?

Diego Garcia:
The art scene in Berlin is vibrant, but, at the same time, it is also frustrating. I love the fact that there are so many art galleries around, but I also think that the market should value the professional a whole lot more. I see ads from these really big art galleries in Berlin seeking art assistants with years of experience, fluency in a lot of languages, and a college degree to work on unpaid “internships.” I mean, not everything is about money, but artists also need to eat and make money at some point. The only projects that I would work for free would be the philanthropic kind or the ones that are way too good to miss out on.

06

09

Paul Weiner:
So, it sounds like you work with clients for graphic design. Would you ever work with clients for your video work or do you prefer to keep it purely experimental and fine art based?

Diego Garcia:
I think, if I could choose, I would always work with experimental/fine art projects, but I also have to make some money to support myself, and that’s not always possible with only making conceptual works. I actually briefly worked in a sound design agency back in Brazil specialized only on making big TV commercials; they even won the Golden Lion Award at the Cannes Festival at some point, and, honestly, I had a blast working there. Sometimes we had boring projects, but, even so, we could get more artistic by coming up with sound effects or recreating music to use in it. I remember when we had to hire a professional opera singer to come up and record a version of the song “Casta Diva” for us to use in a potato chip commercial. But, of course, if I would work with only this, without having my conceptual side projects as a cathartic output, I would go crazy. The same thing goes with video. I could do more commercial works, but I would never stop doing artistic projects in order to dedicate myself exclusively for that. Now, with music itself, I would never ever work with pop artists or with musicians that I don’t like for money.

release2

Paul Weiner:
Would you ever consider adding painting, printmaking, or a more traditional form of art to your repertoire?

Diego Garcia:
Yes. I would like to do that in the future. I had some classes back in college where I was taught more traditional techniques, but I still would like to learn more. I don’t like to rely on the computer to make art all the time. In the future, I would like to wok with watercolor paintings or something like that.


Please view Diego Garcia’s artwork at http://www.projektgestalten.com/ and “like” Critique Collective on Facebook at http://www.facebook.com/critiquecollective.

Subscribe to the Critique Collective newsletter for additional content, faster updates, art tips, and insider information absolutely free.